Tag: Musical

REVIEW: The Rocky Horror Show

Published on by graceboagmatthewsLeave a comment

Rating: 5 out of 5.

Sexy, slick and silly; an all-round success!

The auditorium shivered with antici…pation as the cast of The Rocky Horror Show tour 2024/25 took to the stage of Oxford’s New Theatre. From the first spotlight beam on Natasha Hoeberig, the audience was rapt. Hoeberig gave her all to every second, tackling a tricky dual-role as Usherette and Magenta, as did every member of the company throughout this boundlessly energetic production. This energy saturated all aspects of production, from the excellent set to the dynamic lighting choices and the consistent skill of the band (sat visibly above the stage). 

We were swept into the world of Transsexual by a dazzling Adam Strong, performing the role of Dr Frankenfurter with an inspired originality. Tim Curry’s definitive original performance in this iconic role has held back many a ‘Frank’ from reaching such heights. Many moments had the audience a-giggle; Rocky (Morgan Jackson) embodied his role with a unique playfulness and the central couple, Brad and Janet (Connor Carson and Lauren Chia), conquered stereotypical characters with an eye-catching charm. They drew the audience’s attention throughout, an impressive feat when viewed beside many flashier characters. The vocal and physical stamina of the whole cast was spectacular, and very well received by the teeming crowd. Audience members were hot on the call-outs, which were cleverly received and rebutted by Jackie Clune’s narrator, stunning us with eloquent ad-libs and risky references.

Christopher Luscombe made some fabulous directorial choices; entrances and exits were endlessly surprising and staging effortlessly slick. Nathan Wright’s choreography was outstanding, masterfully pinpointing the focus of every moment and filling the room with spirit. The second act held us just as suspended as the first, and we were all too ready to jump on our feet and dance at every opportunity. A charming Joyce-lee Zanoncelli, playing Columbia, brought a cutesy elegance to her role, with endless energy and some very impressive moves. Every performer inhabited their role with accuracy, focus and pizzazz from their first entrances to their final poses. Job Greuter’s Riff Raff was an instant hit, glowing from a window ‘over in the Frankenstein place’. Both he and Hoeberig, the sibling duo, shone even from the sidelines in every scene. 

Such an iconic musical is inevitably difficult to attack with such imagination and yet this performance is hard to fault! It was an all-round success and an undoubtedly fantastic night out for the glam rockers of Oxford who had all turned up in their best lingerie!

A completely enthralling narrator, Tim Rice is the perfect balance of witty and smug.

REVIEW:Tim Rice-My Life in Musicals- I Know Him So Well

Published on by Megan Fourie1 Comment

Rating: 5 out of 5.

A peek behind the curtain with the one-of-a-kind storyteller.

Tim Rice is one of the most famous lyricists ever and definitely a household name for musical fans. Everyone will have their favourite show or film that he contributed to (mine being Evita). It was difficult to know what to expect from this evening of entertainment, but it certainly didn’t disappoint. A timeline of his 60-year career full of the hit songs and stories behind them.

Opening with a medley from Jospeh and The Amazing Technicolour Dreamcoat, the talented performers created a relaxed atmosphere from the start, with the audience knowing that they were in good hands. The obvious song choices featured throughout, but also a handful of more obscure surprises (for example, Heaven On Their Minds, the opening song from Jesus Christ Superstar) which was refreshing. The songs featured from Tim Rice’s biblical masterpiece made the show perfect viewing for Easter Sunday. There were some songs that I was completely unfamiliar with and a few pop songs that I hadn’t known were written by Tim Rice. I was disappointed not to hear any of Che’s songs from Evita performed, but witnessing A Winter’s Tale by David Essex made up for this.

All four vocalists did these iconic songs justice whilst allowing themselves to have fun and break character now and then. Everyone got their moment to shine, sticking to more or less traditional arrangements and not just singing each song together for the sake of it. With none of the elaborate costumes, set or choreography, it was still an engaging concert. The two female performers sparkled, with plenty of lighting arrangements and a lively swaying movement. Shonagh Daly stood out during her solos as Eva Peron. Sandy Grigelis went all-out whenever he took the stage, fully embodying the self-obsessed actor personality. Patrick Smyth’s voice was perfect for Chess’s Anthem but had me longing for Sandy during a particularly boring rendition of One Night in Bangkok. Katie Brill, although not mentioned in the brochure, deserves high praise indeed for making all her different parts sound equally beautiful.

I almost felt a bit starstruck to share a room with the Tim Rice and it is a daunting task to critique this living legend. Fortunately, I have nothing bad to say. A completely enthralling narrator, Tim Rice is the perfect balance of witty and smug. He wasn’t ashamed to take pride in and display some of his many awards on stage, representing his EGOT status. The audience even got the privilege of hearing Tim Rice’s singing voice as he performed the original version of I Don’t Know How to Love Him as it was before the concept of Jesus Christ Superstar and the lyrics being scrapped. It was a highly informative but extremely easy-going night out.

REVIEW: Supersonic Man

Published on by fbalchinLeave a comment

Rating: 3 out of 5.

“A musical story of love and death through the lens of transhumanism and glitter”

Supersonic Man is loosely based on the incredible life of Peter Scott Morgan, who not only became part of the first English gay marriage, but also became famous for his bionic journey as he battled Motor Neuron Disease with boundary-breaking scientific experiments. The musical follows protagonist Adam (played by Dylan Aiello) as he charts his own journey with MND with his supportive partner Darryl (played by Dominic Sullivan) and their friends, set in the fabulously flamboyant gay scene of modern day Brighton. 

Filled to the brim with 18 songs written by Chris Burgess, this show is surprisingly upbeat and full of camp. Adam, an extremely vivacious and confident man receives his untimely diagnosis early on, and it gradually weakens his body. The physicality on display is raw and unflinching from Aiello, so subtly at first and then it consumes him enough to take everything including his voice.  So too is the enthralling acting from his partner. Conflicted and cautious, sensible and devoted; Sullivan was compelling throughout. I felt the show was strongest when they were in scenes alone, whether with dialogue or duet. 

Alongside Adam’s glitzy ego are the couple’s three friends Ben (played by James Lowrie), Ruth (played by Jude St. James) and Shaz (played by Mali Wen Davies). Whilst all three were strong singers, I found their characters become more one dimensional as the show progressed. All three actors played multiple roles including media executives and medical professionals.

I wholeheartedly applaud this production for trying such an ambitious and weighty topic. A musical about motor neuron disease is probably a tough sell but this show has such tenderness and heart that I invested fully in Adam’s journey. His relationship with Darryl is essential to the success of the script and I would have loved to see a show just about their full journey as a couple before, during and after the diagnosis.

I also applaud Burgess for tackling the topic of transhumanism. Again, no mean feat to set it to music and lyrics but it is indeed a relevant subject. Watching Adam be so open to experimentally transforming himself was poignant. I would have liked the medical professionals- constantly trivialised throughout as generic nerdy “boffins”- given more weight as realistic characters. This is particularly ironic given Peter Scott Morgan himself was a scientific powerhouse in his own right and pioneered the field of robotics. To have Adam be so academically detached felt like a missed opportunity. I also would have liked to see this bionic futurism reflected in the music: techno, vaporwave and electronica motifs would fit the theme more than belting jazzy traditional musical theatre. 

Whilst the vast majority of the score is uplifting, I found the tone of musical confusing. Jaunty numbers would jarringly interrupt heartfelt moments that were not allowed to breathe. It’s like they won’t let you linger on any sadness.  The show is sometimes so hell-bent on projecting positivity that it becomes a hindrance for some of the key, human moments; particularly towards the end as Adam finally succumbs to his own breaking body. 

Ultimately, this is the tale of two extraordinary men and the journey they make together through unimaginable pain whilst remaining resolute in their optimism and love for each other. 

REVIEW: Calamity Jane

Published on by Megan FourieLeave a comment

Rating: 5 out of 5.

A joyous classic that is a must-see for any true musical fans.

Calamity Jane is a musical based on a real woman who was among other things a nurse, stagecoach driver, and gunslinger. She earned her name because she is credited with getting herself and those around her tangled up in many problems. However, she somehow always ends up working things out, never quite getting the credit she deserves for her clumsy genius. Calamity is constantly being overlooked or dismissed until her makeover from Chicago lady Katie Brown allows her femininity to shine through to the outside. Songs such as Deadwood Stage, and Just Blew in From the Windy City were made famous by Doris Day in the 1953 film version. As a fan of the iconic movie musical for years, I was not going into the production blind – I had high expectations of Carrie Hope Fletcher who I have always wanted to see on stage.

The red and gold of the Festival Theatre surroundings perfectly matched the colour scheme used to promote the production. The audience is welcomed by a lone banjo, spotlighted as a reminder that the musicians are front and centre in this production. It was the only musical I have experienced that encouraged audience participation and the well-loved songs were regularly echoed by audience members during the performance. It was a show full of stomping and clapping, leaping onto chairs sort of choreography that was guaranteed to brighten your spirits. The ending felt like an extra unexpected treat as the actors broke out into a hoedown complete with steps akin to line dancing.
 
The costumes are instantly recognisable with no odd surprises thrown in. After all, Calamity’s look is brought up a lot in contrast to the other women around her. Far from trying to be fashionable, she nevertheless stands out when she is not being mistaken for a man. The costumes and set were mostly unchanging, but that didn’t stop the innovative use of props that provided the perfect backdrop to each scene. There was a lot achieved by lighting cues, sound effects, and umbrellas.
 
The production skilfully integrated actor-musicians which seemed perfectly fitting for the stage. Everyone managed to give detailed performances, almost being onstage the whole time and whilst carrying an instrument! The only time when the instrument felt a bit forced or out of place was during the boyband stool rendition of Higher Than A Hawk. The songs are overall short and cheerful, but Carrie Hope Fletcher grasped her moment to shine during Secret Love and got me to shed a tear at her beautiful and powerful voice. She completely deserves to walk in Doris Day’s brown boots. Vinny Coyle shared great chemistry with Fletcher as Calamity’s perfect match, Bill Hickock. I could go on about everyone, but Samuel Holmes deserves a special mention for every little gesture that made Francis Fryer impossible to look away from.
 
Calamity Jane contains the moral of making the best of situations. Maintaining inclusivity to the underdogs and giving everyone a second chance- a sentiment that holds value today. 

FEATURE: We Aren’t Kids Anymore invites media to rehearsals ahead of opening

Published on by elspethmaychapmanLeave a comment

Earlier this week, Dance Attic Studios buzzed with anticipation as the cast and creatives of ‘We Aren’t Kids Anymore’ gathered for an exclusive media call ahead of the musical’s world premiere at the Savoy Theatre on April 28. This contemporary musical by Drew Gasparini explores the complexities of adulthood, chasing dreams, and the ever-evolving journey of self-discovery.

The cast offered a glimpse into their rehearsals before sharing what they hope audiences will take away from ‘We Aren’t Kids Anymore’.

Melanie La Barrie reflected, “I would like people to come and see this and realise that they can make different choices in life.”

Cassius Hackforth spoke passionately about the show’s uniqueness: “This show is very different to any show before… it’s very personal, it speaks to so many different people in so many different ways.”

Olivier-nominated star Aimie Atkinson, known for her roles in ‘Six’ and ‘Pretty Woman’, is excited to explore new territory. “It’s been interesting to delve into more intricate emotions… really getting into the nitty gritty of trying to navigate the world.”

Making her West End debut, Dylan Mulvaney added, “I’m really excited to show my vulnerability through this music… I can’t wait to flex those vulnerable muscles and explore that side.”

The cast were united in their message: kindness. “None of us know what we’re doing (in life)” Dylan added, “and the least we can do is show a bit of kindness, it really can go a long way.”

Directed by Jake Smith, with musical supervision by Lauren Hopkinson, the production promises a dynamic, heartfelt journey. As Smith says, “the musical has always been about the collective power to share and inspire individuals to be all they can be by following their dreams.”

‘We Aren’t Kids Anymore’ opens at the Savoy Theatre on April 28. Tickets are on sale now. 

Credit: Hannah Veale Photography

REVIEW:Everybody’s Talking About Jamie

Published on by jessicafrancis08Leave a comment

Rating: 4 out of 5.

If you’re looking for a feel-good, toe-tapping night out with heart, MYCO’s Everybody’s Talking About Jamie is well worth talking about.

Musical Youth Company of Oxford (MYCO) has once again lived up to its reputation with a vibrant, heartfelt, and thoroughly entertaining production of Everybody’s Talking About Jamie. With slick choreography, infectious energy, and a cast full of talent, this was a classic MYCO show—confident, youthful, and bursting with passion.

From the moment the curtain rose, the energy from the ensemble was electric. Catie Marie Simpson’s choreography was outstanding: sharp, dynamic, and impressively precise for such a large youth cast. The group numbers were a joy to watch—full of movement, colour, and sound—with ensemble vocals that brought real vitality to Dan Gillespie Sells’ catchy pop score.

At the centre of it all was Caleb Gill as Jamie. He balanced the bold sass and sparkle of a would-be drag queen with the uncertainty of a teenager trying to find his place in the world. His performance was charismatic and touching, bringing real emotional depth to the role. Hannah Peel delivered a moving portrayal of Jamie’s mother, Margaret, full of quiet warmth and maternal strength, especially in her tender solo moments. Giacomo Ruffmann wowed as protective Hugo and his glamorous alter ego Loco Chanelle, bringing both wisdom and campy flair to the stage. His performance had just the right mix of grit, heart, and fabulousness, making his scenes some of the most memorable of the night.

However, the standout for me was Chanice Whealy as Pritti. Her clear, strong vocals and calm strength gave the character real presence. She embodied the best-friend role perfectly, offering both support and inspiration without ever fading into the background.

The band, led by Ali Kane, played with real flair, driving the show forward with pace and energy. However, at times the balance between the band and the cast was off, especially during ensemble numbers where lyrics were lost. Mic issues on opening night didn’t help, but hopefully these are quickly resolved in future performances.

A few elements slowed the pace: set changes were often clunky, relying heavily on blackouts and stage crew rather than cast-led transitions, which added time to an already lengthy show. And while the raised stage was used effectively in places, from my seat near the front of the stalls, action taking place upstage was often obscured during full-cast scenes.

Still, the spirit and sheer commitment of the cast made this a joyous celebration of identity, community, and courage. If you’re looking for a feel-good, toe-tapping night out with heart, MYCO’s Everybody’s Talking About Jamie is well worth talking about.

Erik Delin

IN CONVERSATION WITH: Max Alexander-Taylor and Nicholas Carter

Published on by Tabitha JamesLeave a comment

We sat down with Max Alexander-Taylor and Nicholas Carter who star in the new show, The Rise and Fall of Vinnie and Paul. The VAN GOUGH Musical.

Be a fly on the wall of the eight week houseshare that started as an exciting possibility of an artists commune. When Van Gogh invited Paul Gauguin to join him in Arles little did he know it was the start of a chain of events that would end with Van Gogh loosing his ear. 

Get tickets here https://www.vinnie-and-paul-musical.com/

Max and Nicholas, how do you both balance the intense emotions of Vinnie and Paul’s relationship while keeping the energy of a rock musical alive? 

The intensity of their emotions goes hand in hand with rock music score. Sometimes it is difficult to not let the emotion overtake the singing, which could make it unsafe vocally, so good technique is important! 

What was the most surprising thing you each learned about Van Gogh and Gauguin while preparing for these roles?

Nick: I found it interesting that Paul Gauguin was initially stockbroker and never actually trained as an artist. 

Max: Van Gogh created over 1100 over ten years but he only used about 30 different colours in his palette despite being known for his innovative use of colour.

The story explores the fine line between artistic passion and personal turmoil — how do you bring that tension to life on stage?

The music really captures that tension and excitement brilliantly. Neil Bastian has created such a thrilling rock score!

With only two of you carrying the show, how do you keep the dynamic fresh and engaging night after night? 

Hard to say while still in rehearsals…! 

If Vinnie and Paul had smartphones in their little yellow house, what do you think their most texted phrase to each other would be?

Nick: Paul would definitely be constantly telling Vinnie to “chill the f**k out!”.

Max: “You promised me we’d paint together…where are you?!”

With playing two such celebrated artists, are you at all worried about the reception from art historians? 

In short…no! Our version is a fictionalised version of their time together. We have taken full artistic licence to bring their story to life in a way that feels rooted in truth but keeps the show exciting for the audience! 

REVIEW: Nessie

Published on by Claire McArthurLeave a comment

Rating: 4.5 out of 5.

Charming combination of myth and musical storytelling.

“Nessie” is tale of full of heart, conviction and wonderful puppetry. Produced by Capital Theatres and Pitlochry Festival Theatre, this production is the first musical taken to through to full production, via the Musicals Commissioning Hub, set up in 2021 to support Scottish writers and creatives, and inspire new voices.

Created by Shonagh Murray, and directed by Beth Morton, Nessie is a story based in Bruachness,  a village on the banks of Loch Ness, where the myth of a monster has long been told. We meet Mara MacDougall (played by Caitlin Forbes), an enthusiastic biology student full of fun facts, who’s feeling a bit alone in the world after her best friend has moved away, and being picked on by others in her class, notably Ally Campbell (Louis Newman). Her engineer mother Emma (Alyson Orr) is working at the local hydroelectric plant, and having her own issues with local animosity, fired up by Murdo (Keith Macpherson). 

A chance encounter with the local wildlife, Nessa, our “monster” (Eden Barrie, plus Louis as support), Oggie the dam-building otter (Keith), and Heather the heron (Alyson), means Mara’s not only in with a chance for the most amazing biology project ever, but also to stand up for what she believes in, preserve the loch habitat, and to heal some old wounds along the way. The storyline is thoughtfully pitched for the younger audience, covering some big topics such as green energy, without lecturing to them, as well as being entertaining for the adults too. Some lovely comical asides from Oggie added well-timed levity too. Without spoiling the storyline, there’s a beautiful signposting at the climax of the show relating to Nessa and her future life, which I thought showed particular care towards the young audience.

The cast of five cover an extraordinary amount of work over the course of the performance. In addition to the acting roles, instruments including accordion, fiddle, guitar and flute are played to accompany the 10 original songs. Not to mention the puppetry of Nessa, Oggie and Heather. There has been a great deal of attention to the way the animals should move across land and water, leading to a remarkably realistic rendering. Some tiny little background touches, such as Heather grooming Oggie with her beak, added additional depth of natural movement, and nicely counterbalanced other moments where the characters were more playful and silly. This was also reflected in the song balance too, where more up-tempo numbers, were balanced with the more dramatic ones. Mara’s Reel was a particular personal favourite, along with Same as Me, and The Call. In the opening numbers, some of the vocal levels were at risk of fighting against the instruments, but this levelled out quickly as the show progressed.

Natalie Fern’s set design was deceptively simple at first appearance, but through cunning use of space and props, covered scenes in school, the loch banks, a town meeting, and underwater, and the movement between the locations was fluid. Look out for the appearance of some additional bubbles to add to the atmosphere!

With a run time of 80 minutes, I did wonder if this might be a little too long for some of the under 10s in the audience, but it’s a testament to the strength of the production and quality of the storytelling, that this was received with rapt attention by the crowd. This is a production that will appeal to a variety of ages, with universal themes that have never been more relevant in the modern world.

REVIEW: PYGMALION

Published on by ayoungishperspective1Leave a comment

Rating: 3.5 out of 5.

“Oxford Theatre Guild’s Pygmalion is a must-see, reminding us all that transformation is as much about inner strength as outward refinement.”

Few plays have endured in the public imagination quite like George Bernard Shaw’s Pygmalion. A masterful blend of wit, social critique, and character development, it remains as relevant today as when it premiered in 1913. The Oxford Theatre Guild’s latest production breathes fresh life into Shaw’s beloved work, making for a compelling and thought-provoking theatrical experience.

Set in early 20th-century London, Pygmalion follows Eliza Doolittle, a Cockney flower girl with aspirations beyond her station. She meets Professor Henry Higgins, an arrogant linguist who wagers that he can transform her into a proper lady by refining her speech. However, both soon realise that identity and self-worth go far beyond language and social status.

The Oxford Theatre Guild’s production captures these themes while maintaining the play’s signature humour and biting social commentary. The contrast between Higgins’ arrogance and Eliza’s fiery resilience is delivered with precision, ensuring the play’s emotional depth is never lost amidst its comedic moments. 

Visually, the production is a delight. The sets impress, from Higgins’ book-cluttered house to Mrs Higgins’ grand home. Costumes enhance the characters’ development, reinforcing their transformations. The attention to period detail immerses the audience in the world of Edwardian London, bringing authenticity to the storytelling.

The three leads truly carried the show. Eleanor Schofield’s Eliza was a joy to watch, from her confident bravado at the start to her vulnerable, uncertain self at the end. Vaughan Pierce’s brash Higgins was wonderfully frustrating, making you want to join Eliza in throwing his slippers at him. Paul Clifford’s standout performance as Colonel Pickering provided a calm, kind counterbalance to the more intense moments. Their interactions created a dynamic interplay of personalities that enriched the production.

The second act felt slower-paced and at times cumbersome, but despite this, the production remained engaging, delivering a humour-filled and enjoyable evening. The witty dialogue and well-timed comedic beats ensured the audience remained entertained throughout.Marking the Oxford Theatre Guild’s 70th anniversary, this production is both a celebration of Pygmalion’s legacy and a fresh take that speaks to contemporary audiences. For those familiar with My Fair Lady, this play offers a chance to revisit its sharp-witted, thought-provoking origins. With compelling performances, striking visuals, and thoughtful direction, Oxford Theatre Guild’s Pygmalion is a must-see, reminding us all that transformation is as much about inner strength as outward refinement.

REVIEW: Stiletto

Published on by fbalchinLeave a comment

Rating: 4 out of 5.

“This lively and original new musical is well on its way to hitting the castratosphere”

Imagine the pressure when your legacy is Disney’s Mulan, how do you follow such culturally impactful songs such as “I’ll make a man out of you” and “Reflection”? By composing a brand new musical about castrated male singers, of course. 

Stiletto is a refreshingly original musical brought together by award winning composer and lyricist Mathew Wilder and writer Tim Luscombe. Named after the eponymous blade which is presumably both a reference to the cutthroat nature of Venetian society and the, ahem, procedure inflicted upon the boys to preserve their falsetto vocal abilities. Known as castrati, these opera singers were popular throughout 18th Century Venice, and it is here we meet our hero, castrato Marco (Jack Chambers). He performs for high society and falls in love with local-but-unknown opera singer Gioia (Jewelle Hutchinson). The rest of the plot is a mish-mash of side-stories and unfinished business. 

Ceci Calf’s set is stunning, filling the small stage with brilliantly gilded arches. The 12 piece orchestra hidden at the top allows the audience to peer a glimpse of a harp or violin through smoke, adding a sense of mystery. Complimented by the incredibly sumptuous and elaborately themed costumes by Anna Kelsey, it was a visual feast. 

Better still, are Wilder’s compositions.  Detailed touches including Vivaldi-style strings and Sicilian tambourines ensure the music is luscious and sonically complex.  The lyrics, whilst at times overly simplistic, actually remained with me after the show: high praise for an original new musical that is for once not an adaptation, jukebox, sequel or revival. Parts of it reminded me of 90s Frank Wildhorn and Leslie Bricusse songs. 

Where this show struggles is the plot. The pacing is all over the place, with stilted dialogue in the transitional scenes. This is a show about singing, so why not make it a sung-through musical? Exposition is flung at you with abandon and the tone of the show is so awkwardly uneven you never really know if you’re meant to be enjoying yourself. The dark themes pervade a constantly sinister undertone of exploitation and discomfort.  Topics such as racism, slavery, child abuse and sexual assault are so casually mentioned that any audience laughter felt gauche. This show needs to focus on the strong characters it merely glimpses at. Marco’s relationship with his tutor/manager/lover Faustino (Greg Barnett) implies a greater level of intrigue that is never really explored. For some reason we follow the comically evil Pietro (Douglas Hansell) as he and his wife Azzura (Kelly Hampson) try to out-scheme one another to varying results. There are even more side-characters and subplots within the large 17-strong cast, only adding clutter to the proceedings. What is also disappointing is the missed opportunity to really tell the story of the castrati. Surprisingly relevant in today’s climate regarding gender, masculinity and power, much more could have been examined. I noticed the parallels between Mulan’s “I’ll make a man out you” and Stiletto’s “What makes a man a man?”- maybe Wilder just really likes to explore gender-bending depictions of masculinity? This show is both musically and visually gifted but its talented cast are currently hampered by a script that desperately needs trimming. The second act seems to disregard the castrati element in favour of superfluous murder and fraud schemes, and a saccharine deus ex machina Disney would be proud to call a fairytale happily ever after.  Stiletto is close to being a wonderfully finished product; it just needs a good script editor.